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Chapter 3 - What’s Inside?

Collaborative Relationships at the Heart of the American Musical

from Part I - Commercial and Mainstream Theatre

Published online by Cambridge University Press:  20 August 2021

Julia Listengarten
Affiliation:
University of Central Florida
Stephen Di Benedetto
Affiliation:
Michigan State University
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Summary

By examining musical theatre icons and their major collaborations starting from Oklahoma! (1943) and ending with Waitress (2016), this chapter chronicles the evolution of the American musical, as practitioners assembled creative teams in response to shifting economics and the rise of mediated popular culture on television and the internet. Film studios and corporations such as Disney now develop and produce their own musicals, bringing new resources and structures that both support and expand the collaborative creation of musical theatre. At the same time, regional theatres and not-for-profit venues developed new models of their own for participating in musical theatre collaboration. Whether conceived in consultation with a corporate producer or tested through a low-budget laboratory process, what's inside twenty-first-century American musicals remains the product of creative, collaborative relationships.

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Publisher: Cambridge University Press
Print publication year: 2021

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References

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Citron, S. Sondheim and Lloyd-Webber: The New Musical. Oxford University Press, 2001.Google Scholar
Gardner, K. A. Agnes de Mille: Telling Stories in Broadway Dance. Oxford University Press, 2016.Google Scholar
Hirsch, F. Harold Prince and the American Musical Theatre. Cambridge University Press, 1989.Google Scholar
Kraut, A. Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance. Oxford University Press, 2015.Google Scholar
Laurents, A. Original Story By: A Memoir of Broadway and Hollywood. Knopf, 2000.Google Scholar
Woll, A. Black Musical Theatre. Da Capo Press, 1991.Google Scholar

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